Kubler Latin American Art and the Baroque Period in Europe

Latin American art is the combined creative expression of South America, Central America, the Caribbean, and United mexican states, as well equally Latin Americans living in other regions.

The art has roots in the many different ethnic cultures that inhabited the Americas before European colonization in the 16th century. The indigenous cultures each developed sophisticated artistic disciplines, which were highly influenced past religious and spiritual concerns. Their piece of work is collectively known and referred to as Pre-Columbian art. The blending of Amerindian, European and African cultures has resulted in a unique Mestizo tradition.

Colonial period [edit]

Single sheet depiction of the casta system of racial hierarchy in eighteenth-century Mexico, by Ignacio María Barreda. Nigh sets of casta paintings were individual canvases showing simply one family unit.

During the colonial flow, a mixture of indigenous traditions and European influences (mainly due to the Christian teachings of Franciscan, Augustinian and Dominican friars) produced a very particular Christian art known every bit Indochristian fine art. In addition to ethnic fine art, the development of Latin American visual art was significantly influenced by Castilian, Portuguese, and French and Dutch Bizarre painting. In turn Baroque painting was often influenced by the Italian masters.

The Cuzco Schoolhouse is viewed equally the first eye of European-style painting in the Americas. In the 17th and 18th centuries, Castilian art instructors taught Quechua artists to pigment religious imagery based on classical and Renaissance styles.^[1]

In eighteenth-century New Spain, Mexican artists along with a few Spanish artists produced paintings of a organisation of racial hierarchy, known as casta paintings. It was almost exclusively a Mexican class still, one set was produced in Peru. In a suspension from religious paintings of the preceding centuries, casta paintings were a secular fine art form. Only i known casta painting by a relatively unknown painter, Luis de Mena, combines castas with United mexican states's Virgin of Guadalupe; this beingness an exception. Some of Mexico's most distinguished artists painted casta works, including Miguel Cabrera. Virtually casta paintings were on multiple canvases, with i family unit group on each. At that place were a scattering of unmarried sheet paintings, showing the entire racial hierarchy. The paintings show idealized family groupings, with the father existence of i racial, the mother of another racial category, and their offspring being a third racial category. This genre of painting flourished for about a century, coming to an terminate with Mexican independence in 1821, and the abolition of legal racial categories.^[2]

In the seventeenth century, The Netherlands had captured the rich sugar-producing area of the Portuguese colony of Brazil (1630–1654). During that period, Dutch artist Albert Eckhout painted a number of important depictions of social types in Brazil. These depictions included images of indigenous men and women, as well every bit withal lifes.^[3]

Scientific expeditions approved by the Castilian crown began exploring Spanish America where its flora and creature were recorded. Spaniard José Celestino Mutis, a medical doctor and horticulturalist and follower of Swedish scientist Carl Linnaeus, led an expedition starting in 1784 to northern S America, the trek is known as the Expedición Botánica de Nueva Granada. Local artists were Ecuadorean Indians, who produced five thousand color drawings of nature, all being published. The crown chartered expedition whose purpose was scientific recording of the natural beauty and wealth of Nature, was a deviation from the long traditional religious art.^[four]

The most important scientific expedition was that of Alexander von Humboldt and French botanist Aimé Bonpland. They traveled for five years throughout Spanish America (1799-1804), exploring and recording scientific information as well as the attire and lifestyles local populations.^[five] Humboldt's work became an inspiration and template for continuing scientific work in the nineteenth century, as well as traveller reporters who recorded the scenes of everyday life.

In 1818, the Academy of San Alejandro in Havana, Cuba, was founded by the French painter Jean Baptiste Vermay,^[6] making it the oldest academy of art in Latin America.^[seven]

Historiography of colonial art and architecture [edit]

The history of Latin American art has generally been written by those with training in fine art history departments. However, the concept of "visual culture" has now brought scholars trained in other disciplines to write the histories of art. As with the history of indigenous peoples, for many years at that place was a focus on either the pre-Columbian flow (Olmec, Maya, Aztec, Inca) fine art production, then a leap to the twentieth century. More than recently, the colonial era and the nineteenth century take developed as fields of focus. Visual civilization as a field increasingly crosses disciplinary boundaries. Colonial compages has been the subject field of a number of important studies.^{[eight] [9] [10] [11] [12] [13]}

Colonial art has a long tradition, particularly in United mexican states, with there being publications of Manuel Toussaint.^[14] In recent years, there has been a boom in publications on colonial art, with some useful overviews being published in recent years.^{[15] [16] [17] [eighteen] [19] [20]} Many works deal exclusively with Spanish America.

Major exhibitions on colonial art have resulted in fine catalogs as a permanent tape.^{[21] [22] [23] [24] [25] [26] [27]}

Gallery [edit]

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  The Spousal relationship of Captain Martin de Loyola to Beatriz Ñusta, item, c. 1675–1690, Church building of la Compañía de Jesús, Cuzco, Peru.

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  Our Lady of Bethelem, Peru, bearding, 18th century

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  Vicente Alban. Castilian woman and her black slave. Quito, 18th century

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  Mestizo, Mestiza, Mestizo Peruvian casta painting, showing intermarriage within a casta category. 18th c.

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  Miguel Cabrera (Mexico) Casta painting, From Spaniard and Mulatta, Morisca. Oil on canvas. Private collection. 18th c.

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  Aleijadinho(Brazil): Angel of the Passion, ca. 1799. Congonhas practice Campo

Nineteenth-century [edit]

Gallery – Foreign artists in Latin America [edit]

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  Jean Baptiste Debret (French) "L'execution de la Punition du Fouet" ("Execution of the Punishment of the Whip") (Brazil)

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  Jean Baptiste Debret (French) "Feitors corrigeant des negres" ("Plantation overseers disciplining blacks") Brazil

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  Carl Nebel (German) Las Tortilleras, Voyage pittoresque et archéologique dans la partie la plus intéressante du Mexique. Mexico. Early on 19th c.

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• 

Gallery – Latin American artists [edit]

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  Carmelo Fernández (Venezuela). Muleteer and Hat Weaver in Vélez. 1850. watercolor. National Library of Republic of colombia

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  Pedro Weingartner (Brazil). After the Flood Meseu Nacional de Belas Artes, Rio de Janeiro

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  Agustín Arrieta, El Costeño. Private drove. The painting shows a boy from the declension, likely Veracruz, holding a basket of fruits including mamey, tuna and pitahaya

Modernism [edit]

La Muerte de Girardot en Bárbula, by Venezuelan painter Cristóbal Rojas, oil, 1883

Modernism, a Western fine art motility typified by the rejection of traditional classical styles. This movement holds an ambivalent position in Latin American art. Non all countries adult modernized urban centers at the same time, so Modernism's appearance in Latin America is difficult to date. While Modernism was welcomed by some, others rejected it. Generally speaking, the countries of the Southern Cone were more than open to foreign influence, while countries with a stronger indigenous presence such every bit Mexico, Peru, Ecuador, and Bolivia were resistant to European culture.^[28]

A landmark event for Modernism in the region was, the Semana de Arte Moderna or Modern Art Week, a festival that took place in São Paulo, Brazil, in 1922, marking the beginning of Brazil's Modernismo movement. "[T]hough a number of individual Brazilian artists were doing modernist work before the Week, it coalesced and defined the movement and introduced it to Brazilian society at large."^{[ commendation needed ]}

Constructivist movement [edit]

In full general, the artistic Eurocentrism associated with the colonial period began to fade in the early on twentieth century, as Latin Americans began to acknowledge their unique identity and started to follow their own path.

From the early twentieth century onward, the art of Latin America was greatly inspired past Constructivism.^{[ citation needed ]} It chop-chop spread from Russia to Europe, and and so into Latin America. Joaquín Torres García and Manuel Rendón have been credited with bringing the constructivism to Latin America.^{[ commendation needed ]}

After a long and successful career in Europe and the United States, Torres García returned to his native Uruguay in 1934, where he both promoted Constructivism and augmented information technology into a uniquely Uruguayan movement: Universal Constructivism. Attracting a circumvolve of experienced peers and young artists equally followers in Montevideo, in 1935 he founded the Asociación de Arte Constructivo as an art center and exhibition space for his circle. The venue was closed in 1940 due to a lack of funding. In 1943, he opened the Taller Torres-García, a workshop and training center that operated until 1962.^[29]

Muralism [edit]

Muralism or Muralismo is an of import artistic motion generated in Latin America. It is popularly represented by the Mexican muralism movement of Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo. In Chile, José Venturelli and Pedro Nel Gómez were influential muralists. Santiago Martinez Delgado championed muralism in Colombia, as did Gabriel Bracho in Venezuela. In the Dominican Republic, Spanish exile José Vela Zanetti was a prolific muralist, painting over 100 murals in the country. The Ecuadorian artist Oswaldo Guayasamín (a student of Orozco), the Brazilian Candido Portinari, and Bolivian Miguel Alandia Pantoja are also noteworthy. Some of the nigh impressive Muralista works can be found in Mexico, Colombia, New York, San Francisco, Los Angeles, Chicago and Philadelphia. Mexican Muralism "enjoyed a type of prestige and influence in other countries that no other American art movement had ever experienced."^[xxx] Through Muralism, artists in Latin America plant a distinctive art form that provided for political and cultural expression, often focusing on issues of social justice related to their indigenous roots.^[28]

Generación de la Ruptura [edit]

Generación de la Ruptura, or "Rupture Generation," (sometimes simply known as "Ruptura") is the proper noun given to an art movement in Mexico in the 1960s in which younger artists broke away from the established national manner of Muralismo. Built-in out of the desire of younger artists for greater liberty of style in art, this movement is marked by expressionistic and figurative styles. Mexican artist José Luis Cuevas is credited with initiating the Ruptura. In 1958, Cuevas published a paper called La Cortina del Nopal ("The Cactus Drapery"), which condemned Mexican muralism as overly political, calling information technology "inexpensive journalism and harangue" rather than fine art.^[28] Representative artists include José Luis Cuevas, Alberto Gironella, and Rafael Coronel.

Armando Reverón is 1 of the most important painters of the century in Latin America

Nueva Presencia [edit]

Nueva Presencia ("new presence") was an artist group founded by artists Arnold Belkin and Francisco Icaza in the early 1960s. In response to WWII atrocities such as the Holocaust and the atomic bomb, the artists of Nueva Presencia shared an anti-aesthetic rejection of contemporary trends in art and believed that the artist had a social responsibility. Their beliefs were outlined in the Nueva Presencia manifesto, which was published in the kickoff issue of the poster review of the same proper name. "No ane, peculiarly the artist, has the right to be indifferent to the social social club."^[29] Members of the group included Francisco Corzas (b. 1936), Emilio Ortiz (b. 1936), Leonel Góngora (b.1933), Artemio Sepúlveda (b. 1936), and José Muñoz, and photographer Ignacio "Nacho" López.

Surrealism [edit]

The French poet and founder of Surrealism, André Breton, after visiting United mexican states in 1938, proclaimed it to be "the surrealist country par excellence."^[29] Surrealism, an creative move originating in post-World War I Europe, strongly impacted the art of Latin America. This is where the Mestizo culture, the legacy of European conquer over indigenous peoples, embodies contradiction, a central value of Surrealism.^[31]

The widely known Mexican painter Frida Kahlo painted self-portraits and depictions of traditional Mexican civilisation in a fashion that combines Realism, Symbolism and Surrealism. Although, Kahlo did not commend this label, one time saying, "They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my ain reality."^[32] Kahlo'southward piece of work commands the highest selling price of all Latin American paintings, and the second-highest for any female person artist.^[33] Other female Mexican Surrealists include Leonora Carrington (a British woman who relocated to Mexico) and Remedios Varo (a Spanish exile). Mexican creative person Alberto Gironella, Chilean artists Roberto Matta, Mario Carreño Morales, and Nemesio Antúnez, Cuban artist Wifredo Lam, and Argentinean artist Roberto Aizenberg have besides been classified every bit Surrealists.

Contemporary Art [edit]

Since roughly the 1970s, artists from all parts of Latin America have made important contributions to international contemporary art, from conceptual sculptors similar Doris Salcedo (from Colombia) and Daniel Lind-Ramos (from Puerto Rico), to painters like Myrna Báez (from Puerto Rico), to artists working in media like photography, such every bit Vik Muniz (from Brazil).

Styles and trends [edit]

Figuration [edit]

European classical fine art styles have made a long-lasting impression on the art of Latin America. Into the twentieth century, many Latin American artists continued to be schooled in the traditional 19th-century fashion, resulting in a continued emphasis on figurative work. Due to the far reach of figuration, the piece of work often spans upon a number of dissimilar styles such as Realism, Popular art, Expressionism, and Surrealism, only naming a few. While these artists face up issues that range from the personal to the political, many have a shared involvement in indigenous issues and the heritage of European cultural imperialism.

I motility devoted to figuration was Otra Figuración (Other Figuration), an Argentine artist grouping and commune formed in 1961 and disbanded in 1966. Members Rómulo Macció, Ernesto Deira, Jorge de la Vega, and Luis Felipe Noé lived together and shared a studio in Buenos Aires. Artists of Otra Figuración worked in an expressionistic abstract figurative mode featuring vivid colors and collage. Although Otra Figuración were contemporaries of Nueva Presencia, there was no directly contact betwixt the ii groups.^[29] People who are sometimes associated with the group are Raquel Forner, Antonio Berni, Alberto Heredia, and Antonio Seguí.

Parody and sociopolitical critique [edit]

Art in Latin America has often been used equally a means of social and political critique. Mexican graphic creative person José Guadalupe Posada drew harsh images of Mexican elites as skeletons, calaveras. This was done prior to the Mexican Revolution, strongly influencing later artists, such every bit Diego Rivera. A common practice amid Latin American figurative artists is to parody Old Master paintings, especially those of the Spanish court produced by Diego Velázquez in the 17th century. These parodies serve a dual purpose, referring to the artistic and cultural history of Latin America, and critiquing the legacy of European cultural imperialism in Latin American nations. Two notable artists who often employed this technique are Fernando Botero and Alberto Gironella.

Colombian figurative artist Fernando Botero, whose work features unique "puffy" figures in various situations addressing themes of ability, war, and social issues, has used this technique to draw parallels betwixt current governing bodies and the Spanish monarchy. His 1967 painting The Presidential Family, is an early instance. The painting, echoing Diego Velázquez's 1656 Spanish court painting Las Meninas (The Maids of Honor), contains a self-portrait of Botero standing behind a large canvass. The thick, "puffy" presidential family, decked out in fashionable finery and staring blandly out of the canvas, appear socially superior, drawing attention to social inequality.^[31] According to Botero, his "puffy" figures are non meant to exist satirical. He painted a powerful series of canvases, which are based on photos of torture by the U.S. military machine of Iraqi prisoners at Abu Ghraib prison. .

The deformation y'all see is the effect of my interest with painting. The monumental and, in my eyes, sensually provocative volumes stem from this. Whether they appear fat or non does not interest me. It has hardly any meaning for my painting. My concern is with formal fullness, abundance. And that is something entirely different. ^[28]

Mexican painter and collagist Alberto Gironella, whose style mixes elements of Surrealism and Pop art, also produced parodies of official Spanish court paintings. He completed dozens of versions of Velásquez'due south Queen Mariana from 1652. Gironella'southward parodies critique the Spanish rule of Mexico past incorporating subversive imagery. ''La Reina de los Yugos'' or "The Queen of Yokes" (1975–81) depicts Mariana with a skirt fabricated of upside-down ox yokes, signifying both Spanish authorization over United mexican states'southward indigenous peoples, and those people's subversion of Spanish rule. The yokes are rendered useless by beingness upturned. "[Gironella'southward] hallmark was the use of detail Spanish Grocery cans (sardines, mussels, etc.) in his works, and soda bottle caps nailed or glued around the rim of his paintings."

Cuban creative person Sandra Ramos' paintings, etchings, installations, collages, and digital animation ofttimes tackle taboo subjects in gimmicky Cuban society such as racism, mass migration, communism and social injustices in contemporary Cuban society.^{[34] [35]}

Photography [edit]

Photographers captured on motion picture, indigenous peoples too as singled-out social types, such as the gauchos of Argentina. A number of Latin Americans have fabricated significant contributions to modernistic photography. Guy Veloso and José Bassit photograph the Brazilian religiosity. Guillermo Kahlo photographed Mexican colonial buildings and infrastructure, such every bit the railway bridge at Metlac. Agustín Casasola himself took many images of the Mexican Revolution, and compiled an all-encompassing annal of Mexican photos. Other photographers include indigenous Peruvian Martín Chambi, Mexican Graciela Iturbide, and Cuban Alberto Korda, famous for his iconic paradigm of Che Guevara. Mario Testino is a noted Peruvian way photographer. In addition, a number of non-Latin American photographers have focused on the area, including Tina Modotti and Edward Weston in United mexican states. Guatemalan national María Cristina Orive has worked in Argentina with Sara Facio. Ecuadoran Hugo Cifuentes has garnered attending.

Gallery [edit]

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  Photo of an Argentine gaucho. Courret Hermanos Fotogs., Lima, Peru (1868)

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  Martín Chambi (Peru) photo of a homo at Machu Picchu, published in Inca Land. Explorations in the Highlands of Republic of peru, 1922

Encounter as well [edit]

• Visual arts by indigenous peoples of S America
• Art of Republic of colombia
• Art in Puerto Rico
• Art of Venezuela
• Indochristian art
• Brazilian art
• Chilean fine art
• Cuban art
• Culture of Mexico
• Mexican art
• Mexican Muralism
• Culture of Panama
• Chilote School of Religious Imagery
• Latin American culture
• List of Ecuadorian artists
• List of Latin American artists
• Paraguayan Indian art
• Civilisation of Peru
• Peruvian art
• Pre-Columbian fine art

References [edit]

1. ^ The "Cusquenha" Fine art. Archived 2016-05-05 at the Wayback Automobile Museu Histórico Nacional. (retrieved xxx April 2009)
2. ^ Ilona Katzew, Casta Painting, New Haven: Yale Academy Printing 2005.
3. ^ Dawn Ades, "Nature, Science, and the Picturesque" in Art in Latin America: The Modern Era, 1820–1980, London: South Bank Center 1989, 64–65.
4. ^ Stanton L. Catlin, "Traveller-Reporter Artists and the Empirical tradition in Postal service Independence Latin American Fine art" in Art in Latin America: The Mod Era, 1820-1980, London: South Banking concern Center 1989, pp. 43-45, color plate 3.two p. 44.
5. ^ Alexander von Humboldt, Voyage de Humboldt et de Bonpland, Première Partie; Relation Historique: Atlas Pittoresque: 'Vues de Cordillères et monuments de peuples indigènes de l'Amérique', Paris 1810.
6. ^ WPnew (2018-xi-27). "Fine art Schools: San Alejandro Academy". InterfineArt . Retrieved 2020-03-25 .
7. ^ "Cuban Art: History & Artists". Study.com . Retrieved 2020-03-25 .
8. ^ George Kubler, Mexican Architecture of the Sixteenth Century. 2 vols. New Haven: Yale University Press 1948.
9. ^ John McAndrew, The Open-Air Churches of Sixteenth-Century Mexico: Atrios, Posas, Open Chapels, and Other Studies. Cambridge: Harvard Academy Printing 1965.
10. ^ James Early, The Colonial Architecture of Mexico. Albuquerque: University of New Mexico Printing 1994.
11. ^ James Early, Presidio, Mission, and Pueblo: Spanish Architecture and Urbanism in the United States. Dallas: Southern Methodist Academy Printing 2004.
12. ^ Valerie Fraser. The Architecture of Conquest: Edifice in the Viceroyalty of Peru, 1535–1635. Cambridge: Cambridge University Printing 1989.
13. ^ Harold Wethey, Colonial Architecture and Sculpture in Peru. Cambridge: Harvard Academy Press 1949.
14. ^ Manuel Toussaint, Arte colonial en México. Mexico: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 1948. 5th edition 1990.
15. ^ Damian Bayon and Murrillo Marx, History of South American Colonial Art and Architecture. New York: Rizzoli 1989.
16. ^ Marcus Burke, Treasures of Mexican Colonial Painting. Davenport IA: The Davenport Museum of Art 1998.
17. ^ Richard Kagan, Urban Images of the Hispanic World, 1493–1793. New Haven: Yale University Press 2000.
18. ^ Gauvin Alexander Bailey, Art of Colonial Latin America. London: Phaidon 2005
19. ^ Kelly Donahue-Wallace, Art and Compages of Viceregal Latin America, 1521–1821. Albuquerque: University of New Mexico Press 2008.
20. ^ Emily Umbeger and Tom Cummins, eds.Native Artists and Patrons in Colonial Spanish America. Phoebus: A Journal of Fine art History. Phoenix: Arizona State University 1995.
21. ^ Linda Bantel and Marcus Burke, Spain and New Kingdom of spain: Mexican Colonial Arts in their European Context. Exhibition itemize. Corpus Christi TX: Fine art Museum of South Texas 1979.
22. ^ María Concepción García Sáiz, Las castas mexicanas: Un género pictórico americano. Milan: Olivetti 1989.
23. ^ New World Orders: Casta Painting and Colonial Latin America. Exhibition catalog. New York: Americas Society Art Gallery 1996.
24. ^ Diana Fane, ed. Converging Cultures: Fine art and Identity in Spanish America. Exhibition catalog. New York: The Brooklyn Museum in association with Harry North. Abrams. 1996.
25. ^ Los Siglos de oro en los Virreinatos de América 1550–1700. Exhibition catalog. Madrid: Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos 5, 1999.
26. ^ Donna Pierce et al., Painting a New World: Mexican Art and Life 1521–1821. Exhibition itemize. Denver: Denver Art Museum 2004.
27. ^ The Arts in Latin America: 1492–1820. Exhibition catalog. Philadelphia: Philadelphia Museum of Art 2006.
28. ^ ^{a b c d} Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames and Hudson Ltd, 1993.
29. ^ ^{a b c d} Barnitz, Jacqueline. Twentieth Century Art of Latin America. Austin, TX: Academy of Texas Press, 2001.
30. ^ Sullivan, Edward. Latin American Art. London: Phaidon Printing, 2000. ISBN 978-0-7148-3980-6
31. ^ ^{a b} Baddeley, Oriana & Fraser, Valerie. Cartoon the Line: Art and Cultural Identity in Contemporary Latin America. London: Verso, 1989.
32. ^ "Frida Kahlo - Surrealist Conflict | PDF | Surrealism | Paintings".
33. ^ Moses, Tai. Saint Frida. MetroActive: Books. ix Nov 2005 (retrieved 18 April 2009)
34. ^ "Bridging Past, Present, and Future: A Conversation with Cuban Artist Sandra Ramos | Kellogg Establish For International Studies". Kellog Institute at The University of Notre Dame. 2017-xi-06. Retrieved 2020-03-25 .
35. ^ Staff, AiA (2010-10-07). "US Welcomes Cuban Artists". ARTnews.com . Retrieved 2020-03-25 .

Further reading [edit]

• Ades, Dawn. Fine art in Latin America: The Mod Era, 1820-1980. New Haven: Yale Academy Press 1989.
• Alcalá, Luisa Elena and Jonathan Dark-brown. Painting in Latin America: 1550-1820. New Haven: Yale University Printing 2014.
• Angulo-Iñiguez, Diego, et al. Historia del Arte Hispano-Americano. 3 vols. (Barcelona 1945-56).
• Anreus, Alejandro, Diana 50. Linden, and Jonathan Weinberg, eds. The Social and the Existent: Political Art of the 1930s in the Western Hemisphere. University Park: Penn Country University Printing 2006.
• Baddeley, Oriana; Fraser, Valerie (1989). Drawing the Line: Art and Cultural Identity in Gimmicky Latin America. London: Verso. ISBN0-86091-239-6.
• Bailey, Gauvin Alexander. Fine art of Colonial Latin America. New York: Phaidon Press 2005.[ane]
• Barnitz, Jacqueline. Twentieth-Century Fine art of Latin America. Austin: University of Texas Press 2001.
• Bayón, D. and M. Marx. History of South American Colonial Art and Architecture. New York 1992.
• Bottineau, Yves. Iberian-American Bizarre. New York 1970.
• Cali, François. The Spanish Arts of Latin America. New York 1961.
• Castedo, Leopoldo. A History of Latin American Art and Architecture. New York and Washington, D.C. 1969.
• Craven, David. Art and Revolution in Latin America, 1910-1990. New Oasis: Yale University Press 2002.
• Dean, Carolyn and Dana Leibsohn, "Hybridity and Its Discontents: Considering Visual Civilisation in Colonial Castilian America," Colonial Latin American Review, vol. 12, No. one, 2003.
• del Conde, Teresa (1996). Latin American Art in the Twentieth Century. London: Phaidon Press Limited. ISBN0-7148-3980-9.
• Donahue-Wallace, Kelly. Art and Architecture of Viceregal Latin America, 1521-1821. Albuquerque: University of New Mexico Press 2008.
• Fane, Diana, ed. Converging Cultures: Fine art and Identity in Castilian America. (exhibition catalogue Brooklyn Museum of Art 1996.
• Fernández, Justino (1965). Mexican Art. Mexico D.F.: Jump Books.
• Frank, Patrick, ed. Readings in Latin American Modern Art. New Haven: Yale Academy Press 2004.
• Goldman, Shifra M. Dimensions of the Americas: Art and Social Change in Latin America and the United States. Chicago: Academy of Chicago Printing 1994.
• Isabella Stewart Gardner Museum. The Word Fabricated Paradigm: Religion, Fine art, and Compages in Espana and Spanish America, 1500-1600. Boston 1998.
• Kagan, Richard. Urban Images of the Hispanic Globe, 1493-1793. New Oasis: Yale University Press 2000.
• Keleman, Pal. Baroque and Rococo in Latin America. New York 1951.
• Latin American Artists of the Twentieth Century. New York: MoMA 1992.
• Latin American Spirit: Art and Artists in the Usa. New York: Bronx Museum 1989.
• Padilla, Carmela, ed. Conexiones/Connections in Castilian Colonial Art. Santa Atomic number 26 2002.
• Palmer, Gabrielle and Donna Pierce. Cambios: The Spirit of Transformation in Spanish Colonial Fine art. Exhibition Catalog, Santa Barbara Museum of Art 1992.
• Ramírez, Mari Carmen and Héctor Olea, eds. Inverted Utopias: Avant Garde Art in Latin America. New Haven: Yale University Press 2004.
• Reyes-Valerio, Constantino (2000). Arte Indocristiano, Escultura y pintura del siglo XVI en México (in Spanish). Mexico D.F.: Instituto Nacional de Antropología eastward Historia Consejo Nacional para la Cultura y las Artes. ISBN970-18-2499-vii.
• Reyes-Valerio, Constantino (1993). De Bonampak al Templo Mayor: El azul maya en Mesoamérica (in Spanish). Mexico D.F.: Siglo XXI editores. ISBN968-23-1893-9 . Retrieved 2007-03-sixteen .
• Scott, John F. Latin American Fine art: Ancient to Mod. Gainesville: University of Florida Press 1999.
• Los Siglos de Oro en los Virreinatos de América, 1550-1700. Exh. cat. Madrid: Museo de América, 1999.
• Sullivan, Edward. Latin American Art. London: Phaidon Printing, 2000.
• Turner, Jane, ed. Encyclopedia of Latin American and Caribbean Art. New York: Grove's Dictionaries 2000.
• Webster, Susan Verdi. Lettered Artists and the Languages of Empire: Painters and the Profession in Early Colonial Quito. Austin: University of Texas Press 2017. ISBN 978-1-4773-1328-2

External links [edit]

• Walker, John. "Latin American Fine art". Glossary of Art, Compages & Design since 1945, third. ed.
• Museum of Latin American Fine art
• Latineos - Latin America, Caribbean, arts and culture
• Vistas: Visual Culture in Spanish America, 1520-1820

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Source: https://en.wikipedia.org/wiki/Latin_American_art

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